Karlheinz Stockhausen: Klavierstück Catalogue number: Nr. 7; Year of composition: ; Scored for: for piano; Composer: Karlheinz Stockhausen; Table of. Karlheinz Stockhausen, Klavierstück XI Version 1 für Klavier / for piano; Year of composition: ; Duration: 11’34; Composer: Stockhausen, Karlheinz. By the time of his death in , Karlheinz Stockhausen’s catalogue included 19 works that he listed as Klavierstücke. Of those, however, three.
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The first four pieces of this second set, V—VIIIoriginally conceived to be of about the same size as pieces I—IVwere composed fairly rapidly, during Die Gruppen unterscheiden sich nicht nur durch Notenanzahl, Tonumfang, Richtung und andere Parameter, sondern auch durch die Zeitskalen aufeinanderfolgender Takte, welche aus Permutationen einer Folge von 1 bis 6 Viertelnoten gewonnen werden. A notational innovation introduced in the final version of this piece is the graphical indication of tempo changes on a line staff.
Beginning with XV “Synthi-Fou”,which is part of the ending of Dienstag aus LichtStockhausen began to substitute the synthesizer which he also somewhat misleadingly called elektronisches Klavier in place of the traditional piano, since the German word Klavier historically could refer to any keyboard instrument, and Stockhausen saw the history of the piano logically continued by the synthesizer Stockhausen Rather than rhythmic cells, its components are single tones and chords, with no rhythmic or dynamic indications Frisius The first row of each of these rhythm matrices consists of a sequence of simple arithmetic duration values: Cowell’s Mosaic Quartet, for example, allows the performers to decide the order in which the movements are to be played, while Brown’s “mobile” pieces of the early s may be thought of as a musical parallel to Alexander Calder’s kinetic sculptures.
The score is dedicated to “all pianists who do not only play the traditional stringed piano but who also include electronic keyboard instruments in their instrumentarium”. Interspersed into these are groups of grace-note chords and clusters, as well as tremolos, trills, and harmonics, and these two levels are constructed independently Toop Dies rechtfertigte er mit der historischen Entwicklung der Klaviermusik:.
Klavierstück XI, for piano | Details | AllMusic
The comet is a traditional sign klavierstci impending disaster which, combined with the tolling bells of doom and recollection of the opera’s scene of a terrible battle of children, express a pessimistic view of the world Maconie From this starting disposition, progressive changing of note registers somehow plays a role in shaping the subsequent course of the piece Frisiusstockhaysen Frisius73; Rigoni November und am 3. Rainy Day Relaxation Road Trip.
Huber Alden Jenks David C. Each section is made up of several groups, of great variety and distinctiveness, ranging from a single, short note near the end of the sixth section to a group of forty-seven notes in the third section Harvey35— This places the Eve formula in the foreground, which is appropriate because in the Licht cycle Monday is Eve’s day Frisius ; Kiec This is sgockhausen by silently depressed keys and by use of the middle pedal, in order to release the dampers so that certain notes may be set into sympathetic vibration by striking other notes.
This complete formula is stated three times, each time 2: This process has been compared by one writer to the realization of a figured bass in Baroque performance practice Maconie In one later, exposed place, similar exchanges cause the passage to bear a strong resemblance to the interval sequence with which the Michael formula closes Frisius In this way many different timbres can be created for the same pitch.
Stockhausen made two major changes to the superformula when adapting it for the piano here. Over the course of this second set, it becomes increasingly easier klaiverstck perceive the overall, as opposed klaviersgck local, structure, as the basic types of material become more highly differentiated and are isolated from each other by increasingly significant use of silence Smalley These six squares “furnish a sufficiently large number of proportions for all the pieces in the cycle, but apart from determining the tempo groups and main subdivisions, they do very little to precondition the actual content of each piece, or indeed the number of features to which the squares are applied” Toop a95— Die als Werk Nr.
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Klavierstück XI, for piano
These “two-dimensional scales” are then permuted systematically Truelove, —and the six resulting, increasingly larger matrices were combined together to form the columns atockhausen a new, complex Final Rhythm Matrix of six columns and six rows Truelove, — Compositions by Karlheinz Stockhausen.
Tudor wrote to apologise, and Steinecke accepted that he would have to settle for the European premiere, but then Tudor planned to play the piece in Paris two weeks before Darmstadt.
The piece was written for the Micheli Competition, who had commissioned a seven-minute piano piece. This scene is formed according to the second note of Michael’s “Thursday” segment of the Licht superformula, an E divided into three parts: These matrices “amount to sets of two-dimensional ‘scales'” Truelove Retrieved from ” https: Mittlerweile sind sie aber Standardwerke der modernen Klavierliteratur.
Finally, a process of “extreme compressions which begin to destroy the form to the point of its no longer being perceptible so as to bring about silence and motionless sound” is imposed over the course of the work. Most probably all the formulas will be upside-down, will be mirrored: Languages Deutsch Edit links.
Nevertheless, its “note points”, are collected into groups and layers by means of some features that remain constant e. Though composed with a complex serial plan, the pitches have nothing to do with twelve-tone technique but instead are derived from the proportions of the previously composed rhythms Truelove—25; Truelove Like many of his colleagues, he experimented with the potentially problematic ideas of performer freedom and unforeseeable results.
Maconie Die unspezifizierte Tonreihe wird so benutzt, dass einige Noten nur zweimal auftauchen, andere dreimal, viermal usw.
Klavierstücke (Stockhausen) – Wikipedia
The key components of this piece are sounded at the very start: A rising line indicates accelerandoa descending line represents ritardandoand the line vanishes altogether when there is a rest.
This corresponds to the dramaturgy, as Michael recounts to the examining Jury his life on earth from the successive points of view of his mother, representing Eve, his father, representing Lucifer, and himself Kohl Eine steigende Linie bedeutet Accelerandoeine fallende Linie Ritardandound bei einer Pause verschwindet die Linie komplett.
It was first played in October to the jury by the three finalists in that competition. The symmetrical pitch structure was probably modelled on the interlocking chords at the beginning of Webern ‘s Symphony, but the narrow, claustrophobic high register of the piano piece and its “spasmodic, twitching rhythms” combine to give it a character suitable only for a short piece Toop—